Performance Notes

Layout- The layout is done in such a way that we have 10 examples as HR goes through the different keys, each being 3 or 4 measures long, yet it is also one entire piece. Each example is on one line for ease of study.

On the sound file, HR starts out by playing the example, then telling what he’s just played. Later he announces what he’s going to play. For the sake of simplicity, I have listed the key being used at the start of each example.

Notation- Since the entire piece is played over CMaj7, accidentals have been used rather than placing a new key signature at the start of each example. The logic, or lack thereof, was that each of the sharps be recognized as a tension tone in the key of C.

Rhythm- Considering the example is played over loose comping, without the benefit of Bass or Percussion, the rhythms are “close enough for jazz.” Since the purpose of this is to learn and explore, the closest simple rhythms have been chosen. In example 7, key of A, there is a bit of a delay at the start on the sound files, but I opted to leave the example as straight 8th notes rather than write something confusing. (In my mind’s eye I can see HR pausing to stick his tongue out at a pal who just walked into the room!)

Musical Observations- With the exceptions of examples 5,7, and 8, the phrases all end on the 6th tone (“la”) of the scale being used. You can bet your last nickel that there is no coincidence here. HR’s mastery of music led his infallible ear to this point. Example 6, key of E, ends on the 6th, which is C#, a flatted 9th above the root. One would think that this would sound like hell, but when I listen to the sound file I hear A9/C#.

Examples 5,7, and 8, all end on the 2nd (“re”) of the scale being used.

In relationship to the key of C, other than the previously mentioned example 6, the examples all end on the 3rd (examples 2,8, and 9), 6th (examples 1 and 10), 7th (examples 3 and 7), or #11 (examples 4 and 5). In examples 3 through 8, the tonic, or tonic and 5th of C have been altered. Finding a strong point of rest to end the phrase is well demonstrated. In examples 2 and 4, he ascends with “Bop Dominant” scales, descends with major. (The G7 Bop scale is G,A,B,C,D,E,F,F#,G. These 8 note scales were used so that when played as 8th notes the chord tones were always on the beat.)

It should also be noted that the sound files are considerably sharp to concert pitch, nearly a half step. If you intend to try to play along with HR, you’ll have to tune to their pitch.

TAB- HR was not a fan of TAB, and I don’t recall ever seeing it in any of his books, handouts at seminars, or any of the GIT material (I’m an alumnus, class of ’80, and former instructor.) I felt it would be good to see where HR played these on the neck (or where I think he did). The software that I used to create this (Finale Guitar) is quite friendly to TAB, and far more work to do traditional fingerings. So I’m lazy, OK? I hope HR doesn’t hold it against me, or he’ll play a trick on me when we meet again.

As you listen to, and begin to play these examples, remember that this is a fine showing of HR thinking outside the box. In music, as in any other endeavor, praxis precedes theory. In other words, somebody does it, then theorists figure out why it works. My theoretical mind tells me that I can’t raise the root and 5th of a Maj7 chord, but when I hear it done in the hands of a master my ears tell me differently.

Much thanks to Mike Evans for building such a wonderful shrine to the great Howard Roberts. I am honored to be able to contribute in this small way.

On to the music, I hope you benefit from it.

Mike Delaney 1/Dec/2006